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Good Kid, M.A.A.D City
| Recorded = 2011–12 | Studio = | Genre = |gangsta rap}} | Length = 68:23 | Label = | Producer = |Dr. Dre |Dawaun Parker|DJ Khalil|DJ Dahi|Hit-Boy|Jack Splash|Just Blaze|Like|Pharrell Williams|Rahki|Sounwave|Scoop DeVille|Skhye Hutch|T-Minus|Tabu|THC|Terrace Martin|Tha Bizness}} | Last album = Section.80 (2011) | This album = Good Kid, M.A.A.D City (2012) | Next album = To Pimp a Butterfly (2015) | Misc = }} Good Kid, M.A.A.D City (stylized as good kid, m.A.A.d city) is the second studio album by American rapper Kendrick Lamar. The album was released on October 22, 2012, by Top Dawg Entertainment, Aftermath Entertainment, and was distributed by Interscope Records. The album serves as Lamar's major label debut, after his signing to Aftermath and Interscope in early 2012. It was preceded by the release of Kendrick's debut studio album Section.80 (2011), released exclusively through the iTunes Store as an independent album. The album was recorded mostly at several studios in California, with producers such as Dr. Dre, Just Blaze, Pharrell Williams, Hit-Boy, Scoop DeVille, Jack Splash and T-Minus, among others, contributing to the album. Billed as a "short film by Kendrick Lamar" on the album cover, the concept album follows the story of Lamar's teenage experiences in the drug-infested streets and gang lifestyle of his native Compton. Good Kid, M.A.A.D City received widespread acclaim from critics, who praised its thematic scope and Lamar's lyrics. It earned Lamar four Grammy Award nominations at the 56th Grammy Awards, including Album of the Year. The album debuted at number two on the ''Billboard'' 200 chart, selling 242,000 copies in its first week – earning the highest first-week hip hop album sales of 2012 from a male artist, along with the best-selling debut from a male artist of the year. It became Lamar's first album to enter the UK Albums Chart, peaking at number 16, and entering the UK R&B Albums Chart at number two. The album was also named to many end-of-the-year lists, often topping them. It was later certified Platinum by the Recording Industry Association of America (RIAA) in August 2013. By June 2017, the album had sold 1.6 million copies domestically. The album's release was supported by five singles – "The Recipe" featuring Dr. Dre, "Swimming Pools (Drank)", "Backseat Freestyle", "Poetic Justice" featuring Drake, and "Bitch, Don't Kill My Vibe". All five singles received varied chart success. Lamar also went on a world tour between May and August 2013, featuring the other members of the hip hop collective, Black Hippy. Background , on the album.]] After the release and success of his debut studio album Section.80 (2011), Lamar signed a major label record deal with Interscope Records and Dr. Dre's Aftermath Entertainment. He told HipHopDX that he did not want to work with high-profile producers, but with those he had established himself with, mainly producers from Top Dawg's in-house production team, Digi+Phonics. In an interview for XXL, Lamar said that the album would not sound like Section.80, but will return to his Compton roots: "I couldn't tell you what type of sound or where I will be in the next five years as far as music... Back to the neighbourhood and going back in that same space where we used to be, got me inspired. So this album won't sound like Section.80." Lamar also said that the album will showcase the influence of his hometown: "The kid that's trying to escape that influence, trying his best to escape that influence, has always been pulled back in because of circumstances that be". Before the album's title was officially revealed, fans had already been calling Lamar's major label debut Good Kid, Mad City or Good Kid in a Mad City, as it was a nickname Lamar had given himself. The album's title mainly refers to Lamar's childhood innocence, and how Compton affected his life. After keeping the album title's acronym concealed, Lamar later revealed M.A.A.D is an acronym with two meanings: "My Angry Adolescence Divided" and "My Angels on Angel Dust", with Lamar stating: "That was me, it's the reason why I don't smoke. It was just me getting my hands on the wrong thing at the wrong time and being oblivious to it." The cover artwork for Good Kid, M.A.A.D City features a baby Lamar, two of his uncles, and his grandfather, with the elders' eyes censored. Though there is no confirmed explanation for why Lamar chose to do this, he explained that the reason why he had not censored his own eyes was that the album's story was told through his eyes, and is based around his experiences. The uncle who is holding Lamar also is displaying the Crips gang sign with his hand, and the poster above the head of the uncle features Lamar and his father. Recording and production founder Dr. Dre executive produced the album.]] Recording sessions for the album took place at PatchWerk Recording Studios in Atlanta, Encore Studios in Burbank, TDE Red Room in Carson, and "At My Mama's Studio" in Los Angeles. The first song that Lamar recorded for the album was "Compton", which featured Dr. Dre. The track serves as the twelfth track on the album, and acts as the standard edition's closing track. On August 15, 2012, Lady Gaga announced via Twitter, that she had collaborated with Lamar on a song called "Partynauseous", for the album, and would be released on September 6. However, on August 23, Gaga announced that the song was no longer being released on that date and apologized to fans for the delay. Eventually, it was confirmed that Lady Gaga would not be featured on the album due to timing issues and creative differences. The song was later revealed to be re-titled "Bitch, Don't Kill My Vibe". On November 8, Gaga released the version she was featured on, which had her singing the chorus and a verse. Lamar expressed he was surprised and happy that Gaga released her version of the song, as it displayed confidence in their work together. Music and lyrics Good Kid, M.A.A.D City has a low-key, downbeat production, with atmospheric beats and subtle, indistinct hooks. It eschews contemporary hip hop tastes and generally features tight bass measures, subtle background vocals, and light piano. Writers draw comparisons of the music to Outkast's 1998 album Aquemini. Andrew Nosnitsky of Spin cites the music's "closest point of reference" as "the cold spaciousness of ATLiens-era Outkast, but as the record progresses, that sound sinks slowly into the fusionist mud of those sprawling and solemn mid-2000s Roots albums." Sasha Frere-Jones of The New Yorker finds its use of "smooth" music as a backdrop for "rough" scenarios to be analogous to Dr. Dre's G-funk during the early 1990s, but adds that "Lamar often sounds like Drake ... whose various dreamy styles have very little to do with the legacy of the West." Okayplayer's Marcus Moore writes that its "expansive and brooding" instrumentals eschew "California's glossy West Coast funk" for a "Dungeon Family aesthetic." Lyrically, the album chronicles Lamar's experiences in his native Compton and its harsh realities, in a nonlinear narrative. The songs address issues such as economic disenfranchisement, retributive gang violence and downtrodden women, while analyzing their residual effects on individuals and families. Lamar introduces various characters and internal conflicts, including the contrast of his homesickness and love for Compton with the city's plagued condition. Del F. Cowie of Exclaim! observes a "transformation" by Lamar's character "from a boisterous, impressionable, girl-craving teenager to more spiritual, hard-fought adulthood, irrevocably shaped by the neighbourhood and familial bonds of his precarious environment." Slant Magazine s Mark Collett writes that Lamar executes the character's transition by "tempering the hedonistic urges of West Coast hip hop with the self-reflective impulses of the East Coast." David Amidon of PopMatters views that the album provides a "sort of semi-autobiographical character arc", while MSN Music s Robert Christgau writes that Lamar "softspokenly" enacts a "rap-versus-real dichotomy". The album features naturalistic, vérité-like skits that dramatize the characters' limitations. Jon Caramanica of The New York Times finds them to be a part of the album's "narrative strategy", with "prayers and conversations and different voices and recollections and interludes, all in service of one overarching story: Mr. Lamar's tale of ducking Compton's rougher corners to find himself artistically." Pitchfork s Jayson Greene feels that they reinforce the album's theme of "the grounding power of family", interpreting "family and faith" to be "the fraying tethers holding Lamar back from the chasm of gang violence that threatens to consume him." Lamar exhibits a tempered delivery on the album and raps with dense narratives, internal rhyme, double and triple time flow and multiple voices for different characters. Music journalist Jody Rosen characterizes him as "a storyteller, not a braggart or punch-line rapper, setting spiritual yearnings and moral dilemmas against a backdrop of gang violence and police brutality." Singles The album's first single, "The Recipe", was released on April 3, 2012. The song featured Lamar's mentor, Dr. Dre, and was produced by Scoop DeVille. It peaked at number 38 on the Hot R&B/Hip-Hop Songs, and at number three on the Bubbling Under Hot 100 Singles. Lamar and Dr. Dre shot a video for the song at a mansion in Los Angeles in May, although it was never released. The album's second single "Swimming Pools (Drank)" was released on July 31, 2012, as a digital download, while the music video premiered on August 3, 2012. The song became a hit, peaking at number 17 on the ''Billboard'' Hot 100. "Swimming Pools (Drank)" was also certified Gold in the United States by the RIAA. The week of the album's release, "Backseat Freestyle" debuted on the Billboard Bubbling Under Hot 100 Singles chart at number 106. The music video was released on January 2, 2013, which included Lamar's father in a cameo appearance. It was later revealed to be released as the third single in the United Kingdom on January 7. The song peaked at number 29 on the Billboard Hot R&B/Hip-Hop Songs. "Poetic Justice" was released third single in North America, featuring Drake. The song was serviced to American rhythmic contemporary radio on January 15, 2013, and peaked at number 26 on the Billboard Hot 100. It was also soon certified Gold in the United States by the RIAA. On March 9, 2013, Kendrick told Rap-Up that his next single off the album would be "Bitch, Don't Kill My Vibe". On March 13, Young Guru premiered a snippet of the song's official remix, which featured Jay Z. Lamar would later describe the remix as an "accomplishment to have worked with Jay Z". Shortly after the remix premiered, Lamar confirmed "Bitch, Don't Kill My Vibe" would be the next single from the album. The full version of the remix was premiered by Funkmaster Flex on March 17. The remix was released as the album's fourth single to rhythmic contemporary radio on April 9. The song has since peaked at number 32 on the Billboard Hot 100. The music video for the original version of the single was released on May 13, with comedian Mike Epps making a cameo appearance. The same day, an extended version of the music video was released. It featured a cameo from Juicy J, and a bonus clip of a new song by Schoolboy Q from his own respective major label debut album, Oxymoron (2014). On March 10, 2015, Lamar unexpectedly released the song "County Building Blues" to iTunes as a promotional single. The song also featured on the Target exclusive edition of the album. Promotion Before and after the album's release, Lamar toured as a supporting act alongside Drake and Steve Aoki. On May 5, 2013, he begun his first headlining tour with the Good Kid, M.A.A.D City World Tour, in West Palm Beach, Florida. The tour consisted of 23 headlining shows, 22 international music festivals, and 15 United States music festivals. The tour ran through August 24, and featured other members of Black Hippy on all US dates. After subtitling the album "a short film by Kendrick Lamar", Lamar would state in an interview with GQ that "he plans on doing a short film to bring his story to life." He also expressed interest in directing the short film, as well as suggesting that Tristan Wilds, Taraji P. Henson and Rihanna as potential names he'd want to cast in the film. On December 23, 2013, the music video for "Sing About Me", was released, and was directed by Darren Romanelli. Critical reception | MC = 91/100 | rev1 = AllMusic | rev1Score = | rev2 = Entertainment Weekly | rev2Score = A− | rev3 = The Guardian | rev3Score = | rev4 = The Irish Times | rev4Score = | rev5 = Los Angeles Times | rev5Score = | rev6 = MSN Music | rev6Score = A− | rev7 = Pitchfork | rev7Score = 9.5/10 | rev8 = Rolling Stone | rev8Score = | rev9 = Spin | rev9Score = 8/10 | rev10 = USA Today | rev10Score = }} Good Kid, M.A.A.D City received widespread acclaim from critics. At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream publications, the album received an average score of 91, based on 36 reviews. It was widely praised by reviewers for Lamar's lyrical ability and narratives. Pitchfork s Jayson Greene wrote that "the miracle of this album is how it ties straightforward rap thrills" to its "weighty material" and narrative, while David Amidon from PopMatters believed the record was simultaneously accessible and substantial, capable of appealing to both underground and mainstream hip hop listeners. Fact magazine's Joseph Morpurgo called it an autobiographical "triumph of breadth" and a "wide-ranging, far-reaching success". Sputnikmusic found its ambitions comparable to Kanye West's 2010 album My Beautiful Dark Twisted Fantasy, "but with much subtler shades". Jaeki Cho of XXL hailed Good Kid, M.A.A.D City as "one of the most cohesive bodies of work in recent rap memory" and wrote that each song sounded "both complexly arranged and sonically fitting, foregrounding Kendrick's vivid lyricism and amazing control of cadence". In The Irish Times, Jim Carroll viewed it as an entertaining and forward-thinking that nonetheless echoed the past era of West Coast hip hop. AllMusic editor David Jeffries characterized the album as "some kind of elevated gangsta rap" and wrote of its subject matter: In a mixed review, Hazel Sheffield of NME asserted that the album "might lack the raw appeal of" Section.80, "but it's a big-budget reminder that Lamar hasn't forgotten his roots." Alex Macpherson of The Guardian criticized "Lamar's depiction of downtrodden women" as "unnecessarily prurient and unconvincing", but praised his "ability to pull the listener inside the action while retaining an alienated detachment". Although he observed "some degree of self-indulgence", Andrew Nosnitsky of Spin found the album's production "surprisingly cohesive" and commented that Lamar "manages to hold everything together in the midst of such chaos through sheer craftsmanship." Jody Rosen of Rolling Stone felt that the album "warrants a place in that storied lineage" of "Seventies blaxploitation soundtracks and Nineties gangsta rap blaxploitation revivals". Greg Kot of the Chicago Tribune commended Lamar for giving "gangsta tropes ... a twist, or sometimes upending them completely", and wrote that the album "brims with comedy, complexity and the many voices in Kendrick Lamar's head." Robert Christgau from MSN Music felt that its "commitment to drama has musical drawbacks", but stated, "the atmospheric beats Dr. Dre and his hirelings lay under the raps and choruses establish a musical continuity that shores up a nervous flow that's just what Lamar's rhymes need." In 2014, it was reported that Good Kid, M.A.A.D City was being studied as a text in the freshman composition class of Georgia Regents University professor Adam Diehl, alongside other coming of age works such as the James Joyce novel A Portrait of the Artist as a Young Man, Gwendolyn Brooks' Selected Poems, James Baldwin's short story Going to Meet the Man, and the John Singleton film Boyz n the Hood. The theme of the class was meant to "inspire students to find an outlet to bring some sanity to our own mad city–Augusta", Diehl told HipHopDX. "Lamar is the James Joyce of hip-hop", he said, "in the complexity of his storytelling, in his knowledge of the canon, and in his continuing focus on the city of his upbringing - Compton." Accolades Good Kid, M.A.A.D City appeared on several year-end top albums lists by music critics. It was named the best album of 2012 by BBC, Complex, Fact, New York and Pitchfork. The album was also ranked number two by Billboard, the Chicago Tribune, MTV, Spin and Time, number four by Filter, Jon Pareles of The New York Times and Ann Powers of NPR, number five by The Guardian, number six by Rolling Stone and number eight by Entertainment Weekly. In December 2012, Complex also named Good Kid, M.A.A.D City one of the 25 classic hip hop albums of the previous 10 years. Complex also ranked its album cover as the best of 2012, while Pitchfork included it on its list of the 20 best album covers of the year. In April 2013, Vibe placed the album at number 19 on its "The Greatest 50 Albums Since '93" list. The album was also included in the book 1001 Albums You Must Hear Before You Die. In October 2013, Complex named it the second best hip hop album of the last five years. Also in 2013, Rolling Stone placed the album at 86 on its "The 100 Best Debut Albums of All Time" list. The album was ranked number two of "The 100 Best Albums of the Decade So Far (2010-2014)", a list published by Pitchfork in August 2014 and number five of "The 20 Best Albums of the 2010s (so far)", a list published by Billboard in January 2015. According to Acclaimed Music, a site which aggregates hundreds of critics' lists from around the world into all-time rankings, the album is the second-most acclaimed of 2012, and the third-most acclaimed of the 2010s. The album was nominated for Top Rap Album at the 2013 ''Billboard'' Music Awards and the 2013 American Music Awards, and won the award for Album of the Year at the 2013 BET Hip Hop Awards. Good Kid M.A.A.D City earned Lamar five Grammy Award nominations at the 56th Grammy Awards, for Album of The Year, Best Rap Album, Best New Artist, Best Rap/Sung Collaboration for "Now or Never" with Mary J. Blige, and Best Rap Performance for "Swimming Pools (Drank)". Commercial performance The album debuted at number two on the ''Billboard'' 200 chart, with first-week sales of 242,000 copies. The album also entered the UK Albums Chart at number 16 on October 28, 2012, as well as entering at number two on the UK R&B Albums Chart. The album also peaked in the top ten of the album sales charts in Canada, New Zealand, and the Netherlands. In its second week, it sold an additional 63,000 copies in the United States. It would later sell 176,000 more copies over the next four weeks, bringing its total sales to 481,000 in the United States. On November 24, 2012, the album peaked on the Vinyl Albums chart at number three. On August 21, 2013, the album was certified Platinum by the Recording Industry Association of America (RIAA), having shipped and sold one million copies in the United States. As of June 2017, the album had sold 1,651,000 copies. Controversy On October 23, 2012, after receiving much critical acclaim from the hip hop community, outspoken rapper Shyne took to Twitter to disparage the album, calling it "trash" and the production horrible. West Coast rappers Nipsey Hussle, Schoolboy Q and The Game quickly took offense to this, with The Game defending Lamar due to his "non-confrontational nature". Lamar would later respond to Shyne's comments on October 26, saying that he is not a sensitive person and was unfazed by his comments. In addition he said Good Kid, M.A.A.D City was not necessarily a "classic" as some have called it, but "classic worthy" if enough time would pass. He would later reference Shyne on the song "The Jig Is Up", stating: "I pray to God this beat good enough for Shyne". After Shyne stood by his comments, The Game responded with a freestyle calling out Shyne, entitled "Cough Up a Lung". Shyne would later respond with his own diss track in retaliation, titled "Psalms 68 (Guns & Moses)". Track listing | extra1 = Tha Bizness | length1 = 4:33 | title2 = Bitch, Don't Kill My Vibe | writer2 = | extra2 = Sounwave | length2 = 5:10 | title3 = Backseat Freestyle | writer3 = | extra3 = Hit-Boy | length3 = 3:32 | title4 = The Art of Peer Pressure | writer4 = | extra4 = Tabu | length4 = 5:24 | title5 = Money Trees | note5 = featuring Jay Rock | writer5 = | extra5 = DJ Dahi | length5 = 6:26 | title6 = Poetic Justice | note6 = featuring Drake | writer6 = | extra6 = Scoop DeVille | length6 = 5:00 | title7 = good kid | writer7 = | extra7 = Williams | length7 = 3:34 | title8 = m.A.A.d city | note8 = featuring MC Eiht | writer8 = | extra8 = }} | length8 = 5:50 | title9 = Swimming Pools (Drank) | note9 = Extended Version | writer9 = | extra9 = T-Minus | length9 = 5:13 | title10 = Sing About Me, I'm Dying of Thirst | writer10 = | extra10 = }} | length10 = 12:03 | title11 = Real | note11 = featuring Anna Wise | writer11 = | extra11 = Martin | length11 = 7:23 | title12 = Compton | note12 = featuring Dr. Dre | writer12 = | extra12 = Just Blaze | length12 = 4:08 }} | extra13 = Scoop DeVille | length13 = 5:52 | title14 = Black Boy Fly | writer14 = | extra14 = }} | length14 = 4:38 | title15 = Now or Never | note15 = featuring Mary J. Blige | writer15 = | extra15 = Jack Splash | length15 = 4:17 }} | extra16 = THC | length16 = 3:57 | title17 = Swimming Pools (Drank) | note17 = Single Version | writer17 = | extra17 = T-Minus | length17 = 4:07 }} | extra16 = DJ Khalil | length16 = 4:18 | title17 = Swimming Pools (Drank) (Black Hippy Remix) | note17 = featuring Black Hippy | writer17 = | extra17 = T-Minus | length17 = 5:14 }} | extra16 = Scoop DeVille | length16 = 4:21 }} | extra13 = Scoop DeVille | length13 = 5:52 | title14 = Black Boy Fly | writer14 = | extra14 = }} | length14 = 4:38 | title15 = Now or Never | note15 = featuring Mary J. Blige | writer15 = | extra15 = Jack Splash | length15 = 4:17 | title16 = County Building Blues | writer16 = | extra16 = DJ Khalil | length16 = 4:18 | title17 = Swimming Pools (Drank) (Black Hippy Remix) | note17 = featuring Black Hippy | writer17 = | extra17 = T-Minus | length17 = 5:14 }} | extra13 = Sounwave | length13 = 4:39 }} | extra13 = Sounwave | length13 = 4:39 | title14 = Bitch, Don't Kill My Vibe (International Remix) | note14 = featuring Emeli Sandé | writer14 = | extra14 = Sounwave | length14 = 5:06 }} Notes * }} signifies a co-producer * }} signifies an additional producer * "Bitch, Don't Kill My Vibe" features background vocals by Anna Wise and additional vocals by JMSN * "Money Trees" features background vocals by Anna Wise * "good kid" features additional vocals by Chad Hugo * "m.A.A.d city" features uncredited vocals from Schoolboy Q * "Sing About Me, I'm Dying of Thirst" features additional vocals by JMSN, Anna Wise and Camille "ill Camille" Davis * "Real" features background vocals by JMSN Sample credits * "Bitch, Don't Kill My Vibe" contains a sample of "Tiden Flyver" as performed by Boom Clap Bachelors. * "Backseat Freestyle" contains a sample of "Yo Soy Cubano" by The Chakachas. * "The Art of Peer Pressure" contains a sample of "Helt Alene" as performed by Suspekt. * "Money Trees" contains a sample of "Silver Soul" as performed by Beach House. * "Poetic Justice" contains a sample of "Any Time, Any Place" as performed by Janet Jackson. * "m.A.A.d city" contains a sample of "Don't Change Your Love" as performed by The Five Stairsteps, "Funky Worm" by Ohio Players and "A Bird In The Hand" by Ice Cube. * "Sing About Me, I'm Dying of Thirst" contains a sample of "Maybe Tomorrow" as performed by Grant Green, "I'm Glad You're Mine" by Al Green and "Use Me" by Bill Withers. * "Compton" contains a sample of "What's This World Coming To" as performed by Formula IV. * "The Recipe" contains a sample of "Meet the Frownies" as performed by Twin Sister. Personnel Credits for Good Kid, M.A.A.D City adapted from AllMusic. * Kendrick Lamar – art direction, primary artist * Dr. Dre – executive producer, featured artist, mixing * Anthony "Top Dawg" Tiffith – executive producer * Derek "MixedByAli" Ali – engineer, mixing * Dave Free – associate producer, co-ordination, management * Larry Chatman – production co-ordination * Andrew Van Meter – production co-ordination * Ashley Palmer – co-ordination * Mike Bozzi – mastering * Brian "Big Bass" Gardner – mastering * Dee Brown – engineer * Mike Larson – engineer * James Hunt – engineer * Mauricio Iragorri – engineer * Jared Scott – engineer, mixing * Archie Davis – marketing * Barry Williams – marketing * Don Robinson – marketing * Jack Splash – producer * Hit-Boy – producer * Scoop DeVille – producer * DJ Dahi – producer * Skhye Hutch – producer * Just Blaze – producer * Tha Bizness – producer * T-Minus – producer * Pharrell Williams – producer * Terrace Martin – additional production * Sounwave – additional production * Kirdis Postelle – associate producer * Terrence Henderson – associate producer * Drake – featured artist * MC Eiht – featured artist * Jay Rock – featured artist * Kent Jamz – featured artist * Anna Wise – featured artist, background vocals * Camille "Ill Camille" Davis – vocals * Chad Hugo – vocals * JMSN – background vocals * Vindahl Friis – composer * P. Williams – composer * Lykke Schmift – composer * Amari Parnell – hooks and samples singer * Mary Keating – violin * Marlon Williams – guitar, bass guitar * Charly & Margaux – composers, violin, viola * Gabriel Stevenson – piano * DJ Mormile – A&R * Manny Smith – A&R * Tunji Balogun – A&R * Ray Alba – publicity * Willie Long – grooming * Kitti Fontaine – stylist * Dan Monick – photography * Paula Oliver – photo courtesy * Dwane LaFleur – photo courtesy * Danny Smith – photo courtesy * Schoolboy Q – handwriting on cover, background vocals Charts Weekly charts Year-end charts Certifications |accessdate=January 31, 2015}} |refname="RIAA"}} Release history See also * List of Billboard number-one R&B albums of 2012 * List of number-one rap albums of 2012 (U.S.) References Further reading * * External links * * at AnyDecentMusic? Category:2012 albums Category:Aftermath Entertainment albums Category:Albums produced by DJ Khalil Category:Albums produced by Dr. Dre Category:Albums produced by Hit-Boy Category:Albums produced by Jack Splash Category:Albums produced by Just Blaze Category:Albums produced by Pharrell Williams Category:Albums produced by Scoop DeVille Category:Albums produced by Tha Bizness Category:Albums produced by Terrace Martin Category:Albums produced by T-Minus (producer) Category:Albums produced by DJ Dahi Category:Concept albums Category:Interscope Records albums Category:Interscope Geffen A&M Records albums Category:Kendrick Lamar albums Category:Top Dawg Entertainment albums Category:Gangsta rap albums Category:English-language albums